Film industry 'needs thematic freedom'

By Wisnu Pramudya

JAKARTA (JP): Fatahillah promises to be one of the finest presents awaiting Jakarta on its 470th anniversary celebration this June 22.

The film epic, which premieres on June 11 and goes into city- wide release in Jakarta on June 20, is the work of Chaerul Umam and Imam Tantowi, two of the country's top directors.

It tells of Fatahillah, a young ulema in the 16th century who lead the fight to oust the Portuguese from what is today Jakarta.

Much went in to the making of the movie. Its budget of Rp 3 billion (US$1,250,000), with the Jakarta city administration footing the bill, is high for Indonesian film standards. Its entire crew, particularly its directors, were burdened by expectations that Fatahillah would be the spark to ignite the dormant Indonesian film industry.

This was only to be expected amid a local film market almost entirely dominated by cheap, tawdry vehicles. Glance up at any movie marquee and titles like Tergiur Permainan Sex (Drooling Over Sex), Ecstasy dan Pengaruh Sex (Ecstasy and Sexuality), Skandal Terlarang (Forbidden Scandal) and Gadis Binal (Wanton Girl) reveal the depths the industry has sunk.

Tantowi is known for a string of action movies such as Saur Sepuh (The Sayings of the Wise) but Chaerul is renowned for his courage in making films with unconventional themes. In 1977, he made Al Kautsar, which depicts a young religious teacher's struggle to adapt to the mores of a small village. It drew critical acclaim, attracted moviegoers and won the Best Socio- culture Film award at the Asian Film Festival in the same year in Bangkok.

Chaerul, better known as Mamang, also made Bintang Kejora, about how an adventurous rainmaker turns upside down the life of a village girl. His Gadis Maraton (Marathon Girl) was a more mainstream tale of a simple girl who shines through athletics.

Three of his 20-odd films are notable for strong Islamic themes. Many critics consider his Titian Serambut Dibelah Tujuh (The Path of the Believers) from 1983 to be his masterpiece. But Chaerul's personal preference is Nada and Dakwah (The Tune and Propagation), which made full use of the popularity of its stars, Moslem singer Rhoma Irama and preacher Zainuddin M.Z.

Critics praise Chaerul for his talent in art direction and his ability to convey messages through non-verbal means. He spoke to The Jakarta Post recently about the making of Fatahillah and the status of the Indonesian film industry.

Question: What makes Fatahillah an interesting movie?

Answer: This film is about the history of a young ustadz (Moslem teacher) who led a war. A military commander waging a war is probably an ordinary thing. But this is a story about an ustadz, an ulema. It's probably going to be compared with Anthony Quinn's character of Omar Mochtar in the Lion of the Desert, a Libyan ulema who led his people in their fight against the Italian colonial forces.

Fatahillah was still a young man, not even forty yet. This is about a movement of the young people while their elders were still in power. The king of Demak (the largest Islamic kingdom at the time) did not have the initiative to mount an uprising against the Portuguese.

Q: You have said this was your most difficult movie...

A: It posed a great challenge for me in art direction, especially because it is action packed. Fortunately, I made it together with Tantowi. For him, making a colossal action movie is a piece of cake.

Taking good shots of fight scenes was complicated. It involved many retakes, which made me impatient. I prefer to apply myself to setting up dramatic scenes featuring arguing and quarreling.

In Fatahillah, the fight scenes took more than a mere one or two minutes, sometimes lasting up to 20 minutes. That's what stressed me out. Maybe it was no big deal for Tantowi.

Q: Was it difficult making a film on which others have pinned their hopes for reviving the industry?

A: Yes, of course. Eventually, however, I stopped caring. People know me already. They know my capabilities. No matter how good I am, (my pictures) are not going to be that extraordinary.

But full-scale promotion is important, that's true. I think that one of the causes of the slump in our film industry is poor promotion. But it's just one cause.

Q: What do you consider the major cause of the slump?

A: Competition. We lost out in competition to American films.

Q: Not because of business politics?

A: I'm not sure there's any such thing as (business politics). Besides losing out in the competition in film technology, we were defeated in (choosing) themes. American directors have greater freedom to choose themes for their movies, while we limp behind.

Before the onslaught of American films into Indonesia in the early 1990s, we could still compete. There was also protection of the nation's film industry at the time.

But then they (the United States) threatened they would bar Indonesian textile exports unless their films could enter Indonesia. We had to give in for the sake of the textile trade. We haven't had the time to recover even as they (U.S. made films) become increasingly dominant.

Q: Is there any link between attempts to revive the industry and the epics that directors now choose to make?

A: I'm not so sure. This particular picture took a great deal of funding to produce. It's here because the city administration lent a hand. Otherwise, where could you find a private company willing to invest Rp 3 billion for a movie?

Q: Besides history, what other themes do you think are good enough to adopt?

A: Islamic themes. They have an obvious market, as 90 percent of our people are Moslems. We have a good market for Islamic movies. When they see something which is close to their lives, which is Islamic, people find it easy to identify.

I believe directors will strive to create something that communicates well if they themselves believe that its theme is close to their own life.

I was raised in Islamic surroundings. In addition to (feeling) close to the themes, there's also business. Out of my 20 films, three were Islamic and sold well.

Q: But aren't pornography and violence the selling points of Indonesian movies today?

A: That's because of the competition, too. They (the directors and producers) think that if they have to lose out in competition with American films, why not just go all out and make sex pictures.

But in general, our audio-visual business has become a mess, morally degrading the art. It's alarming. Ecstasy, violence, promiscuity, they are all disseminated by our broadcast world.

Q: The government has the most power to control dissemination of themes. What can artists like you do?

A: The National Advisory Film Council (BP2FN) is open to input. It usually invites artists to give suggestions on issues of commercial consideration, education and production technology.

In our effort to fight pornography, for instance, we suggested that a regulation be introduced so that films get to be screened not only at movie houses, but also in cheap, mobile cinemas called layar tancap. The layar tancap is a world unto its own and is enjoyed widely in villages. If someone produces and screens a porn flick, (the rural) people would be outraged.

We also seek cooperation with state-owned banks to provide loans for film production. We encourage the making of quality films for international festivals, which needs to be helped by improvements in human resource development.

Q: How do you feel about the prevalence of sleazy films?

A: I understand that they (the producers) are only doing business. But if this country condones such business practices, what can we do? It's not only about films. Our country and our government provide a space for people like that, they provide places for...commercial sex, for people to get drunk.

What I really wish to do is counter the trend. We can't prevent the current situation because those governing the country allow it. Do you think that's what they mean by the Pancasila ideology?

If I see something that I believe is negative, I wouldn't just stew about it. I'd do something to counter it.

Q: What countries protect their film industries sufficiently?

A: Only a few countries have survived the onslaught of American films. Those which did had their own reasons. Iran, for instance, protects its film industry for political reasons, but also cultivates its arts institutes at the same time. I've never been there, but Iranian films often win awards in international festivals. China is like that too. The two countries send their young people in the film industry to study in America and France.

Hong Kong, too. In addition to sending its young people to film schools in America, it has the benefits of an international network of Chinese people, so that its film marketing is supported by a strong ethnic sentiment.

In Hong Kong, American films usually get the sixth or seventh billings. Those that were successful at the box office were always local productions, because Hong Kong is able to create films which are on par with American movies.

The Philippines survived by allowing pornography. Wow. I saw a Filipino picture in a respected film festival. Oh Allah!. And that was the best picture that the country sent. The audience started yelling in outrage. (The movie) was about a sex worker's live show.

Q: Why hasn't Indonesia been able to survive?

A: Because there's no clear policy here, something that protects (the industry) and is free from other vested interests.

But even if we wished to protect the industry, it's too late now. What we can still do is accelerate the education of our film workers. Send them abroad. Strengthen our own arts institutes.

Q: What is the best result we can hope for with American films dominating the scene?

A: The freedom to explore themes. For instance, surely someday we can make films about the lives of corrupt people. The audience would just love it. Like Serpico.

Or we could probably make a film about Eddy Tansil, which also includes the portrayal of collusion. Let there be no restrictions. That should be interesting.

Q: Who can exercise effective control over films?

A: The public. The press. This can be done through the Indonesian Consumers Organization.

Q: Do you see yourself becoming more religious in your filmwork?

A: I see my films as declining (in their religiosity). Al-Kautsar was my second film. I should have gone on and produced films with stronger Islamic themes.

The problem is the opportunities are declining. The backers of our film industry are not usually knowledgeable on how interesting Islamic themes can be. In the end, I make movies for the sake of continuity (of my work) only, so that I don't fade away.

Actually, my current works have placed me in a better working environment. I know now that not only the film has to have stronger Islamic values, but the process of its creation and the people involved in it have to be good as well. That's what I remember all the time.

The notorious vices of film crews of gambling, drinking and promiscuity did not occur on the Fatahillah set. During the four months of filming, we filled our spare time by inviting Moslem teachers and organizing readings from the Koran.

Praise Allah, these affected many of us so much that it was the film crew that eventually demanded that the readings be continued.